The marketing of “The King of Kings” is the first official written feature issued by the play since 1998 entitled “The Prince of Egypt”. But even remember the masterpiece of the hand -drawn Dreamworks at the same time that the latest version of Angel Studio is not lower than rowing. The “Sound of Freedom” makers move to the family animation productions by adapting the loose manager of Jang Seong-Ho “The Life Of Bord”, written by the nineteenth century author of his children.
To satisfy his younger son Walter (Roman Griffin Davis), an experienced boy obsessed with King Arthur and charitables of the round table (a legend in turn derived from the story of Jesus and his messengers), Kenneth Branagh rotates from the threads of the real king who did not need a sword.
While Dickens wanders in both the miracles of Jesus and other pivotal moments before his heinous death, the young man enters the biblical clips as an invisible character from the side lines and became angry at the long stories. Although there are many moving effects in the form of storms, demonic spots of wind and heavy rains, there is a few aesthetic figures for the “King of Kings”. Anglo human figures are clearly similar to the general design that is often seen in a low -rent CG fee produced outside: large heads with virgin skin and facial features are clear.
To explain Easter and exit, in addition to Adam and Eve’s denying heaven, film makers are briefly used for graphic animation that resembles the book illustrations, but this is as much as an official inspiration goes in this project produced by South Korea, and it ripens for the Sunday youth group but not much. After the main credits, it requests a message that includes nearly ten white children who praise the film from those present to promote it and encourage them to wipe the quick response icon on the screen (a practice that has been part of the launch of Angel since “Sound of Freedom”).
With the exception of a few Walter liabilities and its harmful cat, the “King of Kings” plays as a dangerous and dangerous calculation that ends in the crucifixion of Jesus in the end. Yang is driving young viewers on the protagonist’s tour. Even when Jesus appears dormant on the cross, the fissure points on the palm of his hand are not clear and never enter the blood in the frame.
Like most other religious films, the correspondence precedes entertainment or artistic value here. This is one of the main reasons behind the comparison of the “King of Kings” with a vibrant, attractive and strong (visual and emotional) that seems to be a “prince of Egypt”. It is not that one expects to laugh loudly and the spirit of humor in the story of the Bible, but the heavy mind overwhelms the image.
For comparison, “The Star”, a 2017 animated feature about the birth of Jesus from the existing animal perspective, tends to screaming humor – a strategy that seemed to be linked to young viewers. “The King of Kings” is less successful in the conclusion of his dangerous intention in a palatable vehicle, because it does not try to make Jesus a link. Each of these two films is characterized by sound panels that include somewhat famous actors whose participation is confused, given that some of them, such as Pierce Prosnan in the “King of Kings”, have only a few lines.
A brief moment in the middle of the road with “The King of Kings”, which looks like reaching more complicated ideas. After Jesus saved a woman from her stoning by making the crowd familiar with their own sins, Dickens tells Walter that some people use the word of God to try to manipulate others, but before he continues with his screaming, his wife (Uma Thurman) walks in the room with a group of cookies and moves the story. Who knows what the version can be more dickens than the arduous questions about religion. As is the case, the “King of Kings” is unparalleled if it is unprecedented in a story narrated at countless times in completely varied formats.